I have labored over this rose painting on and off for a couple of days, putting down layer after layer of Permanent Rose, Alizarin Crimson, Cadmium Red Deep and Scarlet Lake (mixed with New Gamboge for areas with reflected light and Winsor Blue for shadows) to deepen the color of the petals, making them more saturated, and turn the form. The flower itself is coming close to a finish. I will switch to work on the background to bring out the shine very soon. Although the colors on the petals in shadow looks a bit too dark now, with a darkened background, I think they should look just the right value... Well, we'll see ;-).
Watercolor on Lanaquarelle 140# Cold Press Press Paper , 10"h x 8"w, WIP 6
Lanaquarelle paper is a little bit easier to glaze on and achieve darker colors compared to Fabriano Artistico, but glazing a watery wash on top of thickly painted dark color would often result in uneven drying, and the re-dried darker passages appear grainy, so a strict light-to-dark painting procedure needs to be planned and carried out. Also, repeated glazing over the same area would result in a darker ring formed on the boundary of the area, which is more prominent on softer paper like this which color lifts relatively easier comparing to Arches and Richeson paper. I like the delicate handling quality of Lana paper, and this painting has certainly taught me a lot about it...